里卡多·波菲建筑師事務所，巴塞羅那，西班牙

2015-12-19 01:40建筑設計里卡多波菲

世界建筑 2015年4期

關鍵詞：里卡多筒倉建筑師

建筑設計：里卡多·波菲

建筑設計：里卡多·波菲

老工廠

正如里卡多·波菲所說，這座老工廠是他獻給加泰羅尼亞地區(qū)的工業(yè)美學贊歌。20世紀初有大量水泥廠，其空間主要分水泥生產(chǎn)和存儲兩大區(qū)域。他從這些遺址中看到了創(chuàng)造新空間的可能，并因此喜出望外。

改造工程從炸藥和手提鉆的局部破拆開始，總共持續(xù)了一年半。這是一項精準的工作，不但要展示工廠不為人知的建筑形式，還要復原某些空間——就像雕刻家先要研究材料一樣，他必須從水泥中鑿出新的空間。在去掉了大量原始構(gòu)件之后才得到最終的造型，有些構(gòu)件則加以保留。最終的成果是用原始的材料水泥雕刻而成的。形態(tài)各異的空間特色鮮明——有大教堂，有花園，還有筒倉。后來我們又用一種綜合了建筑史上各種語言的特殊語匯來標示這些新的構(gòu)造，一種與本土建筑相對的文化語言。我們將想象中的門窗、樓梯和偽透視放在外墻上和局部室內(nèi)。在加泰羅尼亞工匠的得力幫助之下，水泥工廠被慢慢改造成為一件永未建成的作品。

接下來是種植綠化。這些體塊需要一個綠色的基座，讓植物爬上墻壁，再從屋頂垂下。最后是功能的置換。我們要給這座工廠的新構(gòu)造不同的用途，創(chuàng)造新的功能。

里卡多·波菲一貫的想法是用最少的元素裝點室內(nèi)，即只保留最本質(zhì)的東西。他的建筑脫胎于原建筑，將筒倉分成多層，用作建筑工作室——設計、建模、管理、存檔，還有一個堂皇的商務多功能廳，被我們稱作“大教堂”。

里卡多·波菲建筑事務所設計了建筑、室內(nèi)和家具。室內(nèi)和室外一樣，是集中精神、沉思冥想的空間。它給人帶來一種特殊的感受，又能容納人的個性。在這一點上，空間尤為和諧，極大緩解了人行為的壓力——極少的材料和裝飾是其特色。

家具設計不會追隨時尚，也沒有過多的個性。作為實用的原型，任何設計作品都必須能超越時間，并以當代工藝制作。只有這樣才能創(chuàng)造出工作和休閑的空間，并滿足有文化、有責任、有自由的現(xiàn)代人的需求。

雖然生活在都市，里卡多·波菲卻總會回到工廠。這座讓他魂牽夢繞的老工廠在過去的幾十年中一直在不斷翻新?？臻g的拓展和美化就像是在撰寫生平，體塊本身猶如不斷豐富的傳記。里卡多·波菲曾說，“這座工廠是一個充滿魔力的地方，它奇妙的氛圍不是肉眼所能發(fā)現(xiàn)的。我喜歡讓這里的生活井井有條，就像一種儀式，與我動蕩漂泊的生活完全不同?！?（尚晉譯）

1 鳥瞰/Bird's eye view

La Fábrica

As Ricardo Bofill says, La Fábrica (the Factory) is his tribute to the industrial aesthetics of his homeland, Catalonia. There were a lot of cement factories in activity at the beginning of the 20th century. The spaces were mainly divided into two areas: cement production and stock. He was fascinated to see possibilities for new spaces in those ruins.

The construction work, which began with partial destruction with dynamite and jack hammers, lasted for a year and a half. It was a work of utmost precision, both in revealing the factory's hidden forms and in recovering certain spaces; like a sculptor whose first task is to explore the material, he had to carve into the cement to create new spaces. A lot of original elements had to be removed to obtain the final form, though certain elements are preserved. The final form is sculpted out of the original material, the cement: a great variety of spaces appeared: the Cathedral, the garden, and the silos. Later we designated these new structures with a peculiar vocabulary synthesizing various languages in architectural history, a cultured language in opposition to vernacular architecture. We applied imaginary windows, doors, stairs, and false perspectives to the exterior walls and some interiors. With the valuable help of Catalan craftsmen, the Cement Factory underwent slow transformation and remained an unfinished work.

The following phase was landscaping. It was necessary to provide a green platform to these structures; plants would climb walls and hang from the roofs. The last phase was functional replacement: we wanted to assign various purposes to the factory's new structures and invent new functions for them.

Ricardo Bofill's consistent intention is to decorate the interiors with scarce and minimal elements, i.e., to preserve only the most essential. His architecture grew out of the original buildings. He divided the silos into different floors to accommodate various activities of the architecture studio: designing, modeling, administrating, archiving and a magnificent, enormous room for business and social events that we call "The Cathedral".

2 廢棄的工廠/the abandoned old factory

Ricardo Bofill Taller de Arquitectura designs buildings, interiors, and furniture. the interiors, as is true of exteriors, are spaces conceived for meditation and concentration. they are meant to arouse a special sensation and at the same time accommodate human individuality. In this respect, the spaces are deliberately harmonious and neutral, which, characterized by a minimalism of material and decoration, greatly relieve the tension of human behavior.

Furniture design does not follow fashion and is free of excessive personalization. Conceived as functional archetypes, any object should be designed in a timeless spirit and be manufactured in accordance with contemporary craftsmanship. Only in this way can spaces be created for work as well as leisure, while fulfilling the need of cultured, responsible and liberal modern people.

Though cosmopolitan by definition, Ricardo Bofill returns always to the factory, that old industrial building that he never ceased to renew over the years. Expanding and embellishing its spaces is like writing a biography, constantly enriched by the evolution of structures. Ricardo Bofill says, "The factory is a magic place whose fantastic atmosphere is scarcely perceivable to the naked eye. I like to make the life here in perfect order, like a ritual, entirely different from my restless, vagrant life."

3 入口/Entrance

4 連橋/Bridge

評論

戴春：這是一個盡量存留原貌并凸顯其空間特質(zhì)的工業(yè)建筑更新，依據(jù)被發(fā)掘清理出來的空間形式來適應與分配工作室多種功能的設計邏輯，加之局部嵌入帶有加泰羅尼亞民間哥特式特征的元素與工業(yè)建筑骨架的部分裸露，一系列似乎是為了標示空間新功能的多種設計語匯并置，都令改造后的建筑有種紀念工業(yè)時代的超現(xiàn)實的意味。這些操作讓這個新的空間抽取了原有空間那些令人震撼的部分，承擔起了激發(fā)進入者更多想像、更多探索的作用，形成了這個工作室空間特殊的創(chuàng)作氛圍。傅紹輝：按照建筑師個人意愿去實現(xiàn)作品，反映建筑師對場地、材料、功能的理解，并以一種方式表達出來是建筑設計中最令人興奮的事情之一。然而，各種現(xiàn)實（特別是業(yè)主）的要求，又使建筑師的很多思想難以表達，甚至蹤跡全無。建筑師自我的工作空間或自宅因而成為建筑師表達其思想和對建筑理解認知的最佳試驗場。相對于自宅的私密，工作室則更能體現(xiàn)出空間的公共開放性。

里卡多·波菲建筑事務所同樣是利用圓筒空間建筑，新材料的介入和表現(xiàn)及其簡單。其最大的特征在于圓筒的內(nèi)部成為“可達”空間。由于其“可達”的特性，歷史的遺存與當今形成可“觸摸”的交流，從而賦予建筑空間特定的“意義”。這種“意義”最終是通過空間尺度和幾何形態(tài)的特殊性完成并傳遞出來。

5 夜景/Night view

6 筒倉E平面/Floor plan of silo E

7 筒倉F平面/Floor plan of silo F

Comments

DAI Chun: this renovation project strives to preserve the industrial building's original appearance and highlights its spatial characteristics. The design logic is to accommodate and distribute various functions of the studio according to the spatial form that is explored and cleared out. Moreover, some vernacular elements of the Catalonian Gothic are introduced, while the industrial building's structural framework is partially exposed. A variety of design vocabularies are juxtaposed to demarcate new spatial functions. All of these strategies endow the renovated space with a surrealist meaning that recalls a bygone industrial era. Overall, the new space extracts the impressive part of the original space and encourages the users to further imagine and explore, which determine the studio's distinctive atmosphere of creativity.

8 “大教堂”剖面/Section of "la Cathedral"

FU Shaohui: One of the most exciting things in architectural design is that the architect is able to realize his work based on his own willingness and expresses his understanding of the site, the material, and the functions in a certain way. However, various realistic requirements (especially from clients) make it hard for this kind of expressions, or even erase them. As a result, the architect's own working space or house becomes the best experimental playground to express their architectural thinking and perception. In contrast to the privacy of residential houses, it is easier to show the publicity and openness of space through the design of studio.

the Atelier of Ricardo Bofill also uses a cylindric space, and the interference and presentation of new material is quite simple. The most distinctive characteristic is that the interior of the cylindric space is turned into an "accessible" space. Due to the "accessibility", it is possible to realize a "tangible" communication between the historical remains and the present environment, so as to endow the architectural space with a specific "significance" that is accomplished and conveyed via the scale of the space and the distinction of its geometric form.